The Superior times. [volume] (Superior, Wis.) 1870-1912, 1887-05-07
THE DRAMA.

historical development as form OF
literature per Sc, or in its relation to
ethics. Anything like an exhaustive
discussion of the subject is out of ques-
ton on such an occasion as the present,
and as my knowledge of my theme is
very limited, and rather recently ac-
quired, a resume of the history of the
drama, all out Of the cyclopedia, will
be the most appropriate contribution
! can offer to this evenings entertain
ment.
The tendency-one may say-the
instinct toward dramatic representa-
ton manifcsts itself very clearly in the
history of races. The war-dances Of
savage tribes representing the stealthy
approach Of the foe, the surprise, the
repulse, and the wild JOY of the victor,
may be regarded as the first rude be-
ginnings of the drama.
To Greece, great mother of the arts,
we must look for the first crystalizat-
ion of the dramatic. instlnct into liter
airy form, unless their work was ante
ceded some 600 ye1ls by the Hebrews.
Some modern critics hold that the
"Songs Of Solomon" is a drama, re-
presenting the struggle between love
and ambition. \ Young peasant girl
is brought from her simple home to
Solomon's luxurious court and though
tlattered by the admiration OF courtiers
and the Establishments OF the king, she
still remains true to her humble rustic
lover.
rs far back rs 100 b. c., Greek
poets began to reclte their odes on oc-
casion Of religious festivities, while
choruses responded, or elaborated the
theme with appropriate dances and
gestures. In 400 -Eschylus formdd
the drama, essentially as 1t Is to-day,
taxing the initiative IN 4 movement
"hich ?rodoeea splendid tragic i'IeF-
azure III " SilI2ie Seher''l'n. 7"?"-
ocieS al" Eur. 'i'eS lo''o"e' ii'''i
Inc latler introduced Il more real ana
hu'''i element iii'o MS y "Se',eS IMAM
ei'"ei q MS o'e"e'eSS'i>' '"' ,hio"5 i
OUT 'he Vreeh traIeulslS were hamper,
ed by certain artIhcla rules termed
the three uhI'ieS. lheSe demanded
that the development OF character
should Keep pace with the event; thai
the acton should not cover period OF
over tWenty-tour hours; and that the
scene should not be changed farther
than day journey 1t VIII readily
DC seen Iilat the ri9Id observance Z"
these uhlties would seriously 1ettel
genus ana 1t Is worthy OF remark tina
the frehch dfamatlsts haYe usually
chosen to abide by them.
The modern drama of western
Europe, especially Of England, is tn,
outgrowth of another movement. Dur
Ing the dark ages, the clergy adapted
their methods of instruction to tn,
understanding of their ignorant parish
oners. and attempted to teach them b,
object lessons.
Priests and monks acted the more
important scenes IN Holy writ, eithe
in the churches, or on rude stage
without their walls. The stage VA
divided into three sections or stories
the upper one represented heaven, th'
lower the internal regions. The NH
die section representing the earth, wa
the center Of action, and there angel
and devils strove for the possession 0
men. But aIasl for poor human ia
ture. What was intended to educat,
and elevate soon became an occasion
for stumbling. We blush to say it
but his satanic majesty became, We
are told, the favoritc character. S,
true is it, that too great familiarity
with evil, far from having a restrain
ING influence, rather accustoms one t
its dreadful lineaments, and MAKE
them appear admirable, or at leas
highly amusing. In short the miracl,
plays, or mysteries, as they were call
ed, became 50 blasphemous in THEN
license as to shock even that rude age
Attempting a reform, allegories term
ed ''moralitiesr were put npon til,
STAGE Rut tho naonIa could not oiv,